Agreed. Quoting out of context is a major sin. The argument, even if it weren't poetic is:
"If all time is eternally present
All time is unredeemable."
So all time isn't eternally present, therefore all time is redeemable.
For none physical beings there is no extension, therefore no space and time so they choose either eternal good or eternal evil. No going back!
Angelic beings are in that situation. Humans, mercifully, are not. Aquinas has the full argument somewhere.
This poem is a celebration of the physical and includes an "awful' respect for the eternal, which, when all choices are said and done, will be the human condition.

Ken Armstrong <[log in to unmask]> wrote:

On 4/2/2014 9:32 PM, CR Mittal wrote:
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The Passage of Time in T.S. Eliot’s Four Quartets 
By Pedro Blas Gonzalez, PhD, Professor of Philosophy

Exploring T.S. Eliot’s argument that “all time is unredeemable.” According to Eliot, time past and present are already contained in time future; therefore, time cannot be treated in abstraction but as the vital ground of human reality. In Four Quartets, Eliot is concerned with time as “lived experience.” 

     I haven't followed the link to the rest of Prof. Gonzalez's article and notice this small excerpt only because it typifies what another readere of FQ calls the mistake of reading FQ as if they were "rational prose."  In Part II of Eric Voegelin's "Notes" on FQ, he summarizes what, in this respect, the Quartets are and what they aren't: "the interpenetration of form and subject matter needs the most careful attention. The Quartets are not a prose work and their medium is not rationale spite of the periphrastic parts, the poems as a whole preserve, therefore, the lyrical level; they are, indeed, an incantation and do not become didactic."  As basic as it is and perhaps widely acknowledged, Voegelin's insight here seems difficult for most readers of FQ to hang onto when talking about them.  The whole of Section II of his "Notes" is available on Google, as is, apparently, the rest of this very short piece written in 1944. It comes from Vol 33 of his collected works, from the volume titled "The Drama of Humanity and Other Miscellaneous Papers, 1939 - 1985." That was the search term I found it by; I think this link will go to it. Sec II starts on pg 34:
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